Dosso Dossi's Allegory at Florence about Music

1990 ◽  
Vol 43 (1) ◽  
pp. 43-98
Author(s):  
H. Colin Slim
Keyword(s):  
Sixteenth Century ◽  
Conceptual Framework ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Musical Instruments ◽  
The Other ◽  
The Right

An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknown, that of the latter is Josquin Desprez. The work is Josquin's celebrated proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. Musical aspects of Dosso's complex allegory reside not only in the relationships of the two canons on the right side of the picture to three hammers belonging to a blacksmith on the left side, but also in the tablets of stone on which the canons are inscribed. A brief notice of the changing relationships between music and painting at this period sets the stage for a more thorough examination of statements by Leonardo da Vinci concerning both arts, statements that help provide a conceptual framework for Dosso's allegory of music.

Geology Emerges as a Science

2021 ◽  
pp. 6-33
Author(s):  
Elisabeth Ervin-Blankenheim
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Basic Principles ◽  
Charles Lyell ◽  
The Earth ◽  
Forms Of Life ◽  
Principles Of Geology ◽  
The Way

This chapter and the next one cover the way in which geology came to be a science in its own right, spanning the early centuries of geology. Lives of crucial individual scientists from the sixteenth century to the beginning of the twentieth century are discussed by relating the stories and discoveries of each, commencing with Leonardo da Vinci and continuing with the European geologists, including Nicholaus Steno, Abraham Werner, James Hutton, Charles Lyell, and early fossilists such as Etheldred Benet. Steno, Werner, Hutton and Lyell, and other early geologists revealed and wrote about the basic principles of geology, painstakingly untangling and piecing together the threads of the Earth’s vast history. They made sense of jumbled sequences of rocks, which had undergone dramatic changes since they were formed, and discerned the significance of fossils, found in environments seemingly incongruous to where the creatures once lived, as ancient forms of life. They set the stage for further research on the nature of the Earth and life on it, providing subsequent generations of geologists and those who study the Earth the basis on which to refine and flesh out the biography of the Earth.

scholarly journals Images and Theories

Nuncius ◽  
2018 ◽  
Vol 33 (3) ◽  
pp. 442-463
Author(s):  
Domenico Laurenza
Keyword(s):  
Early Modern ◽  
Microscopic Examination ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
The Other ◽  
Analogical Model ◽  
Other Hand

Abstract The paper examines how images, technological-artistic knowledge and theories interacted with each other in early modern geology. Casting techniques provided Leonardo da Vinci (1452–1519) with an analogical model for the study of fossils, which he expounded using only texts and theories, not images. For painter Agostino Scilla, on the other hand, images of fossils and animals (La Vana speculazione disingannata dal senso, Napoli, 1670) were the key-feature of his approach, intentionally limited to the external aspects of the specimen, the very domain of the painter. Theories and microscopic examination of the internal aspects orientated Robert Hooke’s visual comparisons in Micrographia (London, 1665), aimed at demonstrating the organic origin of fossils, while, in the same period, visual comparisons were used to support opposite interpretations of fossils as well, like in the case of Francesco Stelluti.

Isabella d’Este

2016 ◽  
Author(s):  
Deanna Shemek
Keyword(s):  
Food Production ◽  
Da Vinci ◽  
Family Relations ◽  
Leonardo Da Vinci ◽  
Musical Instruments ◽  
Court Culture ◽  
Art Collections ◽  
Andrea Mantegna ◽  
Wide Range ◽  
Female Version

Isabella d’Este (b. 1474–d. 1539) was the eldest child of Ercole I d’Este (b. 1431–d. 1505), second duke of Ferrara, and Duchess Eleonora d’Aragona (b. 1450–d. 1493). Raised in luxury and privilege, she was educated by humanists in a city that boasted an exceptionally refined court culture and one of Europe’s greatest universities. In 1490 she married Francesco II Gonzaga (b. 1466–d. 1519), Marchese of Mantua, and entered that city in triumph as its new princess. As Marchesa, she displayed extraordinary skills in management, diplomacy, and Politics, often counseling her husband and at times assuming the reins of government. All of Isabella and Francesco’s six children attained important positions among the European elite (See Family Relations). She is mainly remembered for her achievements not as a ruler, however, but as a collector of art and antiquities and the first woman in Europe to fashion a personalized gallery space in which to display her acquisitions. She called these rooms her studiolo and grotta, or her camerini. Her apartments also housed an impressive book collection, the musical instruments she was adept at playing, and other luxury items she collected (See Patronage, Collecting, Studiolo and Exhibition Catalogues). Her portraitists include Andrea Mantegna, Francesco Francia, Leonardo da Vinci, Titian, and Rubens. A woman of tremendous energies and intelligence, Isabella cultivated relationships with many writers and composers of her time. She also devoted notable attention to fashion, travel, gardening, food production and exchange, and the keeping of animals. Given her wide range of interests, her keen intelligence, and her extraordinarily active public profile, Isabella d’Este has often been regarded as a female version of the period’s “Renaissance men.” Her multifaceted life is recorded most visibly in the archive of her correspondence, now housed in the Archivio di Stato di Mantova (ASMn), where many thousands of her letters survive along with a wealth of official documents related to her court. Isabella d’Este’s art collections now reside in museums around the world, chief among these the Paris Louvre and the Vienna Kunsthistorisches Museum.

Esthetics and Mathematics

1927 ◽  
Vol 20 (8) ◽  
pp. 419-428
Author(s):  
David Eugene Smith
Keyword(s):  
Sixteenth Century ◽  
Da Vinci ◽  
Fine Arts ◽  
Leonardo Da Vinci ◽  
Salient Points ◽  
And Mathematics ◽  
Christopher Wren ◽  
Modern Work ◽  
Geometric Designs

In considering mathematics in relation to the beautiful, the range of possibility is so vast that a brief article like this can hardly be expected even to list the salient points of contact. The field might properly include all that we designate as the fine arts or, to use the more expressive phrase of the French, the beaux arts. Painting, for example, might be considered with reference to the works of that great genius in science, in mathematics, and in art—Leonardo da Vinci. Sculpture might equally well be included because of the mathematical principles employed by that majestic user of ponderous masses, Michelangelo. Architecture might have place with reference to the works of that Oxford professor of mathematics, Sir Christopher Wren, who rebuilt ecclesiastical London; engraving, with reference to that gifted artist of Niirnberg, Albrecht Diirer, who published the first modern work on curves; music, with reference to the fact that it always ranked as a branch of mathematics until the sixteenth century; decoration, with reference to the geometric designs found in all ages and reaching their highest degree of perfection in the works of the Moslems; and literature, with reference to the mathematics of poetry, and the poetry of mathematics. Indeed, we might properly include the beauties of nature, where mathematics plays a part of which we are usually quite unconscious.

scholarly journals Hidden map of North America in ‘Bacchus’ by Leonardo da Vinci

2020 ◽  
Vol 3 (3) ◽  
Author(s):  
Grigol Keshelava
Keyword(s):  
United States ◽  
North America ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Tree Of Life ◽  
The Right

The object of this research is a ,,Bacchus” created  in 1510-1515 by Leonardo da Vinci. By moving the detail of the painting, the map of North America is obtained, on which the present United States and Mexico are imprinted. The detail was drawn along the pale lines. The map we have shown in the painting is almost identical to the modern map of North America. The right part of the map shows a tree. In our opinion, Leonardo symbolically painted a tree of life, associated with the newly discovered land at that time.  

scholarly journals The Cosmos in “Ginevra de’ Benci’’ by Leonardo da Vinci

2020 ◽  
Vol 9 (1) ◽  
pp. 29
Author(s):  
Grigol Keshelava
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
The Moon ◽  
Left Half ◽  
Dark Background ◽  
The Earth ◽  
The Face ◽  
The Right ◽  
Light And Shadow ◽  
Oval Shape

Leonardo observed the celestial phenomena to study the phenomenon of light and shadow, which was to be used in painting. The object of the research is the painting “Ginevra de’ Benci’’. This work was created in 1474-1478 by Leonardo da Vinci. In the left half of the painting the oval shape detail bordered with faint contour is observed. Trough the Paint X program, we moved this detail to the right part of the painting in the place of a round shadow near the face of Ginevra. According to our interpretation, the bright and oval face of Ginevra de’ Benci is a metaphorical image of the moon. The dark background around it is a cosmos with numerous stars. Below the displaced detail is a quarter of the sphere that resembles the Earth’s surface and is associated with our planet. The displaced detail represents the oval and is associated with the moon. The layout of the dark spots on the sphere is compared to the relief of the moon, which is described on a modern photo. Finally we can think that the painting describes the earth, the moon, the cosmos, and the stars.

The right hand of Leonardo da Vinci (1452–1519): ulnar or median nerve palsy?

2019 ◽  
Vol 112 (11) ◽  
pp. 452-452
Author(s):  
Deivis de Campos ◽  
Danielle Coutinho Rodrigues ◽  
Luciano Buso
Keyword(s):  
Median Nerve ◽  
Nerve Palsy ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Right Hand ◽  
Median Nerve Palsy ◽  
The Right

La norma č una credenza? Su The law and the Right di Enrico Pattaro

2009 ◽  
pp. 181-192
Author(s):  
Alfonso Catania
Keyword(s):  
Conceptual Framework ◽  
Point Of View ◽  
Legal Positivism ◽  
The Other ◽  
External Point ◽  
Social Dynamic ◽  
The Law ◽  
Normative Dimension ◽  
The One ◽  
The Right

- Enrico Pattaro's volume The Law and the Right features an appreciable finesse of argumentation and an analysis of unusual historical density. The attention paid to psychology absolutely significant when studying an area like that of law, which comprises relationships of expectation and of claim is deserving of recognition as an indispensable, urgent complexification of the conceptual framework of legal positivism and realism, whose reasoning has for some time been manifesting a degree of aridity and, I dare say, poverty. The author identifies the fact that Hart is treated as having espoused the psychologically-inclined realist school as a consequence of the realistic attention to describing normative attitudes as somewhat forced reasoning. These normative attitudes that Hart analyses by drawing a distinction between the internal and the external point of view can hardly be reduced to mere internal experiences that are pregnant exclusively in empirical psychological terms. While the epistemological option in favour of a radical, materialist, psychologist monism expounded in Pattaro's book on the one hand stimulates a valuable investigation into the mental and social dynamic immanent to reality (which must be), no less than the plane of reality that is, on the other hand it runs the risk of casting a shadow on the dimension of designing and transforming reality practised by those who generate norms (marginal in volume compared to the prevalence of believers who make them what they are by the very act of believing in them), thus blacking out the dialectic tension between law and facticity, obedience and effectiveness. This is a classical objection to radical realism that is not overcome by the attention paid by Pattaro to the normative dimension "in the relative sense".

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